The Stettheimer Dollhouse Returns
The Stettheimer Dollhouse, a remarkable piece of art and craftsmanship, has been out of public view since 2022. This unique miniature mansion was carefully disassembled and transported from the Museum of the City of New York to the Art Conservation Group located in Long Island City, Queens. However, it is set to make its grand return on November 22. When it reopens in a newly designated space on the museum’s third floor, visitors can expect several enhancements, including:
- A new, sophisticated lighting system
- An airy vitrine to showcase the dollhouse
- High-resolution photographs that allow for detailed examination of features such as the handmade mahjong tiles
- Brighter and cleaner surfaces that enhance the overall presentation
Created in the 1920s, the Stettheimer Dollhouse was the brainchild of Carrie Stettheimer, a prominent figure in New York society. She dedicated nearly two decades to furnishing this exquisite dollhouse with custom-designed wallpaper and intricate miniature amenities. The mansion was inspired by André Brook, the Tarrytown estate where Carrie and her sisters, Florine, an accomplished painter, and Ettie, a talented author, spent their summers. Originally built in 1916, the dollhouse features 12 meticulously crafted rooms, an elevator, and a grand salon.
One of the most impressive aspects of the Stettheimer Dollhouse is its extensive art collection, which includes contributions from the sisters’ esteemed circle of friends. Notable works include:
- A thumb-sized bronze sculpture titled “Mother and Child” by William Zorach
- A minuscule alabaster figure of Venus by Gaston Lachaise
- A petite rendition of Marcel Duchamp’s iconic painting “Nude Descending a Staircase” presented at a postage-stamp scale
Before Ettie Stettheimer donated the dollhouse to the museum in 1945, following Carrie’s passing, she curated a small art exhibition within the salon of the dollhouse itself.
In total, a dedicated team of four conservators and a technician invested over 240 hours over a span of five months restoring Carrie’s masterpiece. They meticulously cleaned the dollhouse using cotton swabs and dental tools, ensuring that the appropriate patina of age was preserved. According to Rebecca Gridley, an associate conservator on the team, the artwork required minimal intervention. The sculptures were cleaned using a combination of water, ethanol, and what Gridley wittily referred to as “a conservator’s favorite tool — saliva,” humorously described as “a mild enzymatic solution.”
However, the rest of the dollhouse presented more challenges. After nearly 80 years in the museum, it has undergone several moves between vitrines, some of which were not adequately sealed. The last conservation treatment occurred in 1999, leaving the dollhouse in need of significant care. The conservation team uncovered a layer of grime and dust reminiscent of any century-old home that had been neglected for 25 years. They discovered issues such as:
- Lifting, flaking, and cracking paint
- Failing adhesives
- Loose furniture legs
- Evidence of long-ago water damage in some areas
In particular, the collages on the nursery wall were found to be in distress, highlighting the extensive work needed to restore this incredible piece of art history.
